^jyLsi'C!; 

i 

^ 

jj^l^l 

> 

;=" 

^^^^ 

s 

^ 

K 

^ 

^ 

p^ 

*•  i. 


ij^y^^^^n/^ ' 

i^ 

^^j^]^: 

^^l^^i^^ 

:iA^ 

®B 

irCSEr  L!BRAf?r 


-^        -f-        ^ 


i^ 


Digitized  by  tine  Internet  Arcliive 

in  2007  witli  funding  from 

IVIicrosoft  Corporation 


littp://www.arcliive.org/details/draftsmansmanualOOcampiala 


L: 


OR, 


"HOW  CAN  I  LEARN  ARCHITECTURE? 


HINTS  TO  ENQUIRERS. 
DIRECTIONS  IN  DRAFTSMANSHIP. 

NEW  REVISED  AND  ENLARGED 
FOURTH  EDITION. 

BY 

F.   T.    CAMP, 

ARCHITECT. 


WILLIAM  T.  COMSTOCK. 

e  ASTOR  PLACE,  NEW  VORK. 

1889. 


Copyright  by 

W.  T.   COMSTOCK 

^888 


CONTENTS. 


Page. 
4 


INTRODUCTION,     .         .         .         .         ^ 
Preliminary  Words,  .... 

Draftsman's  Outfit  (see  Appendix  A),  .  .5 
Technics  of  Planning,         .        .        .  ^ 

General  Remarks  on  Planning,  .  .  •  1" 
General  Remarks  on  Exteriors,  .  .19 
Drawing  the  Plan,  .... 

Using  the  Instruments,       .... 

Designing  the  Elevations 25 

Tracing  and  Inking,    .... 

The  Architect, 

The  Proportion  of  Rooms  (Appendix  B), 


22 
2;} 


28 
30 
38 


INTilODUOTlON. 

Having  frequently  been  asked,  by  wide-awake  young  car. 
pentersand  builders,  how  best  to  qualify  themselves  for  prac- 
tising the  profession  of  Architecture,  I  have  in  the  following 
pages  set  down  the  steps  which  to  that  class  are  necessary 
and  expedient,  in  the  order  that  they  must  be  undertaken. 

In  the  hope  that  what  I  here  set  forth  may  be  found  of  use 
to  such  mechanics  as  are  of  inquiring  minds  in  this  direction, 
and  that  such  as  are  of  the  right  stuff  may  be  encouraged  and 
helped,  I  trust  this  little  attempt  to  its  public. 

Fbed'k  T.  Camp, 

Architect. 


PRELIMTXAllY    WORDS. . 

In  attempting  to  supply  by  these  simple  directions  a  want 
which  has  frequently  been  expressed  to  rae,  I  will  confine  my 
scope  strictly  to  a  practical  description  of  the  methods  in  use 
for  placing  upon  paper  and  other  materials  those  somewhat 
mystic  lines  called  plans,  elevations,  and  sections — so  often 
erroneously  denominated  Architecture  when  the  word  ought 
to  be  Draftsmanship. 

The  query  generally  runs,  "  I  want  to  learn  architecture  ;" 
a  term  often  much  broader  than  the  real  intention  in  the 
majority  of  instances,  as  the  ambitious  ones  only  mean  that 
they  want  to  learn  how  to  make  plans,  sections,  elevations,  and 
details.  They  don't  really  want  to  go  through  the  course 
neoessary  to  thoroughly  inform  them  as  to  the  History  of 
Architecture  ;  the  styles — classic,  Gothic,  and  Renaissance : 
but  they  think  that  the  draftsmanship  necessary  to  enable  them 
to  draw  plans,  etc.,  of  common,  everyday  city  and  country 
houses  is  Architecture  ;  and  so  they  want  to  "  learn"  it. 

I  have  presumed  in  the  foregoing  that  the  real  desire  on 
the  part  of  any  inquirers  i.-j  to  learn  draftsmanship  and  not 
architecture  ;  and  of  the  former  I  shall  treat  first,  reserving 
the  topic  of  architecture  until  the  previous  one  of  draftsman- 
ship is  disposed  of. 


DRAFTSMAN'S    MANUAL 


DRAFTSMAN'S  OUIFIT  ESCMEEATED. 

Drawing-board,  a  convenient  size,  24  x  36  inches. 

Two  T  squares,  one  24  inches  and  one  48  inches. 

Three  triangles,  one  each  of  angles  27|°,  45°,  60°. 

A  dozen  thumb  tacks,  preferably  of  German  silver. 

Pencils  of  varying  hardness,  say  half  a  dozen,  from  No.  4 
to  6  H,  or  corresponding  numbers. 

Rubber,  not  too  hard,  and  close  grained. 

An  ink  slab  and  well  of  white  earthenware  or  slate. 

A  set  earthenware  color  saucers. 

Half  dozen  camel 's-hair  brushes  of  different  sizes. 

Four  cakes  of  colors — red,  blue,  brown,  ochre^and  as 
many  others  as  are  desired. 

A  stick  of  India-ink — the  best  is  the  cheapest. 

Instruments — one  pair  plain  45-inch  dividers  ;  one  large 
compass,  fitted  with  pencil  and  pen  legs  ;  one  small  compass, 
fitted  as  before  ;  two  ruling  pens,  large  and  small ;  a  foot- 
rule.  These  are  necessaries.  Most  draftsmen  have  more  in- 
struments, gotten  at  times  when  specially  needed,  such  as 
spring  dividers,  large  and  small  ;  standard  steel  scales,  com- 
prising many  'livisions  to  the  inch  ;  proportional  dividers, 
parallel  rules;  protractors;  small  fine  compasses,  both  pencil 
and  pen  ;  crow-quill  drawing-pen  points,  etc. ,  etc.  * 

White  paper  comes  either  in  sheets  of  different  sizes,  from 
small  or  ordinary  to  large  or  double  elephant ;  or  in  rolls  of 
48  and  52  inches  wide,  and  twenty  or  thirty  yards  in  length  ; 
but  a  yard  or  so  can  be  purchased  at  a  time,  and  is  more 
economical  for  general  use,  as  pieces  of  any  size  can  be  cut 
from  it,  and  there  is  less  waste  than  when  sheets  of  a  uniform 
size  are  used  for  all  purposes.  It  is  not  necessary  to  use 
white  paper  for  any  of  the  drawings  unless  they  are  to  be 
nicely  colored,  or  are  for  show  ;  but  a  good  grade  of  heavy 
light  brown  manilla  paper  will  answer  every  jjurpose  and  be 
much  cheaper.  It  comes  in  rolls  only,  but  can  be  bought  by 
the  yard  or  pound.  Tracing-cloth  is  a  semi-transparent 
fabric,  consisting  of  linen  cloth, prepared  with  wax  and  tur- 
pentine in  a  manner  that  leaves  one  side  with  a  high  gloss  and 
the  reverse  of  a  dull  appearance.     Some  tracing  cloths  have 

*See  Appendix  A, 


6  dkaftsman's  manual. 

both  sides  glazed,  but  the  best  have  dull  back.  Opinion"? 
differ  as  to  which  side  is  best  to  put  the  ink  on.  If  the  trac- 
ing is  to  be  ccilored  the  dull  side  takes  colors  best,  though  if 
the  lines  are  on  the  dull  side  the  reverse  will  take  the  colors, 
but  with  some  difficulty  ;  but  bear  this  in  mind — always  color 
on  the  reverse  side  from  that  on  which  the  ink  lines  are.  If 
this  is  not  done  the  color  brush  will  be  sure  to  soften  and 
spread  the  ink  lines.  "When  traciug-clolh  has  been  kept  in 
too  dry  a  place,  or  is  old,  it  becomes  difficult  to  make  the  ink 
flow  evenly  on  the  smooth  surface.  In  that  case  a  minute 
quantity  of  ox-gall  or  soapsuds  iu  the  ink  will  cause  this 
difficulty  to  disappear. 


TECHNICS  OF   PLANNING. 

Assuming  the  young  man  who  wants  directions  iu  drafts- 
manship to  be  ordinarily  well  educated  as  to  arithmetic,  read- 
ing, writing,  and  spelling,  and,  above  all,  attentive  and  eager 
to  learn,  his  own  experience  in  carpentry  or  masonry  enabling 
him  to  understand  all  the  points  about  material,  etc..  puzzling 
to  many  beginners,  he  must  first  try  to  understand  how  the 
plans  are  intended  to  actually  represent  the  building,  at  differ- 
ent stages  of  its  construction.  In  general,  the  plans  show 
the  appearance  of  the  walls,  as  if  left  with  a  horizontal  face, 
cutting  through  the  windows  and  doors  at  some  point  in 
their  height — just  where  is  immaterial. 

It  is  customary  to  show  all  such  openings,  whether  they 
would  be  in  such  an  imaginary  plane  of  section  or  not,  leav- 
ing to  the  elevations  or  further  drawings  to  show  the  heights, 
if  irregular. 

The  drawings  are  usually  made  on  a  scale  of  four  feet  to 
one  inch — familiarly  called  "  quarter-inch  scale."  and  some 
of  large  buildings  on  an  eighth-inch  scale,  or  eight  feet  to  an 
inch.  Elevations  and  sections  should  be  on  the  same  scale  as 
Hie  plans. 

For  instance,  a  plan  of  a  base  course  would  show  a  contin- 
uous wall  (except  where  openings  were  to  be  left  for  passage 
of  drains,  etc.)  of  the  necessary  width— three  feet,  three  feet 
and  a  half,  etc. 

The  foundation  or  cellar  wall  would  show  solid,  ex- 
f.  pi  where  doors,  windows,  ventilating  apertures,  and  the 


draftsman's  manual.  7 

like  were  to  be,  which  would  be  indicated  by  lines,  showing 
somewhat  as  a  cross-section  of  the  article  in  question  would 
appear. 

Piers,  buttresses,  stair  bulkheads,  and  cisterns  are  shown 
by  solid  walls,  colored.  A  general  definition  of  the  way  to 
represent  walls  is  :  the  two  faces  are  lines,  and  the  bod^^  of 
the  wall  is  colored  blue  for  stone,  or  brown,  as  may  be  the 
color  of  the  stone  to  be  used  ;  red  for  brick  ;  a  reddish  yellow 
ochre  or  orange  color  for  wood ;  drab  for  slate  courses  ; 
brown  for  black  walnut,  brown  stone,  etc.,  etc. 


Fig.  1.  Fig.  2. 

rig.  1  represents  the  character  of  most  of  the  windows  put 
in  cellar  walls  to  light  cellars.  The  outside  double  line  is  a 
winter  sash  and  the  inside  one  the  common  sash.  The 
shaded  part  is  stone  wall.  The  window-frame  is  of  plank, 
not  boxed,  and  the  sash  are  hinged  or  fastened  in  with 
buttons. 

Fig.  3  shows  how  a  window  in  a  wall  of  a  frame  house  is 
represented.     The  shaded  part  is  the  wall. 

Fig.  3  represents  a  section  of  a  window  set  in  an  eight  inch 
brick -wall.  The  shaded  part  is  the  wall,  and  the  squares  are 
the  boxes.  The  furring,  plastering,  etc. ,  are  shown  by  the  ex- 
tra line  on  the  wall,  and  the  architrave  or  casing  and  sill  are 
inside  the  window. 


Fig.  3.  Fig.  4. 

Fig.  4. — This  example  shows  how  to  represent  a  double  or 
single  external  door  in  a  frame  wall.  The  sill  projects,  as  do 
all  the  others,  and  the  shaded  part  is  the  mass  of  the  wall. 

Fig.  5  represents  a  section  of  a  double  or  single  door  in  the 
wall  of  a  brick  house.  The  wall  is  eight-inch,  and  is  shaded. 
Tlie  frame,  with  fillet  on  the  brick  side,  sho^s  on  the  jambs, 
and  tlie  furring,  lath,  and  plaster  inside. 

Fig.  6  shows  the  usual  plan  of  steps  and  step  buttresses,  of 
either  wood  or  stone.  As  a  general  form,  it  is  well  under- 
stood, but  of  course  special  designs  in  any  of  these  illuslra- 
tions  given  would  alter  more  or  less  tbcir  forms, 


8 


draftsman's  manual. 


Fig.  7. — This  cut  is  of  a  wooden  bay,  projecting  from  a 
frame  house-wall.  Tlie  angle  of  the  sides  is  60°  with  the 
wall.  The  length  of  the  sides  is  equal.  The  outside  line  is 
that  of  the  sill.     The  dotted  crossed  lines  and  parallel  ones 


Fig.  5. 


Fig.  6. 


show  that  the  opening  into  the  bay  is  arched.     The  shaded 
parts  represent  the  wall  and  angles. 

Fig.  8  is  also  of  a  bay,  but  of  brick  attached  to  a  brick 
wall.  The  angles  are  calculated  of  4  and  8  inches  to  avoid 
cutting  the  brick,  and  the  sides  are  recessed  for  the  same 
reason.    The  shaded  parts  are  of  brick,  and  the  clear  parts  are 


Fig.  7. 


Fig.  8. 


the  box  frames,  furring  for  jambs  of  arch,  wall,  etc.     The 
dotted  lines  represent  arch  as  before  given. 

Fig.  9  shows  how  to  represent  a  roof  plan,  to  show  the 
ridges,  hips,  valleys,  chimne3^s,  etc.  The  heavy  black  line 
inside  the  eaves,  or  cornice,  is  the  position  of  the  plate,  or 


(iXr--j- 

=711.  -    -^ 

ffiii^ 

rferi 

/ 


Flg.^.  Fig.  10. 

outside  wall.     The  slopes  are  lined  horizontally  with  the  fallt 
and  represent  the  lines  or  rows  of  slate  or  shingles. 

Fig.  10  represo'j«:s  part  of  a  churoh  wall,  showing  a  but- 
tress, and  half  of  a  window.    The  jambs  are  seen  at  an  angle, 


DRAFTSMAN  S    MANUAL,  9 

instead  of  square  with  tlie  wall  ;  because  generally  window* 
in  churclies  are  so  narrow  that  the  splay  is  a  necessity,  to  in- 
crease the  number  of  entering  rays  of  light.  Not  many  church 
windows  are  made  to  slide  like  the  ordinary  ones,  and  yet 
the  practice  is  on  the  increase. 

■  Fig.  11  shows  how  a  partition,  showing  the  base,  is  repre- 
sented. If  base  is  not  desired  to  be  shown,  omit  the  outer 
lines.  The  inner  lines  represent  the  plaster  faces  of  the  two 
sides  of  the  wall,  and  the  studding  is  3  x  6  inches. 


Fig.  11. 


Fig.  12. 


Fig.  13. 


Pig.  12  is  similar  in  all  respects  to  the  foregoing,  except 
that  it  represents  a  partition  where  the  studding  is  2x4 
inches. 

Fig.  13  represents  a  pocket  for  sliding  doors,  and  shows 
how  the  inside  should  be  lined.  The  partition  in  which  a  set 
of  sliding  doors  is  placed  must  always  be  much  thicker  than 
an  ordinary  one,  and,  according  to  the  thickness  of  the  doors 
and  the  size  of  the  studding,  varies  from  eleven  to  fourteen 
inches  between  the  plaster  faces  of  the  two  sides  of  the  wall. 

Fig.  14  illustrates  the  way  of  showing  a  range  placed  in 
kitchens.  The  wall  back  of  it  is  of  studding,  covered  with 
sheathing  and  clapboards.  Inside  is  the  plastering  and  ba.'ic. 
These  divisions  of  the  wall  are  not  usually  shown  on  scale 
drawings.     The  shaded  part  is  brick. 


Fig.  14.  Fig.  15. 

Fig.  15  shows  section  of  a  chimney  in  a  wooden  house, 
with  a  fireplace  and  mantel.  The  component  parts  of  the 
wall,  again,  are  not  usually  shown  on  scale  drawings,  but  are 
given  here  to  illustrate  the  construction. 

Fig.  16  is  a  section,  as  usually  constructed,  of  a  chimney 
breast  in  an  upper  story — for  instance,  where  no  fireplace  is 
desired.  It  shows  the  flues,  both  from  below  and  on  the 
floor,  surrounded  by  a  four-inch  brick  wall.     Flues  are  gon- 


10  draftsman's  maxual. 

erally  called  for  to  be  pargetted — that  is,  plastered  with  a 

peculiar  composition  of  mortar  ;  but  many  prefer,  instead  of 

enforcing  that  clause,  to  have  the  joints  perfectly  filled  with 

mortar,  and  the  inside  face  struclc  flush,  plastering  the  room 

side  of  the  stack  also,  to  prevent  any  spark  from  finding  its 

way  through.    Thus  done,  four  inches 

in  dwelling-house  chimneys — which  is 

the  usual  thickness  of  their  inside  walls 

— is  as  good  as  eight  inches  if  done  in 

Pig  jg  theiisual  careless  manner  of  laying  up 

general   walling.     The  shaded  parts 

are  brick,  the  plastering,  furring,  etc.,  showing  by  an  extra 

line  inside. 

Fig.  17  represents  how  a  register  in  a  wall  is  shown.  The 
shaded  part  is  the  wall.  Nice  wall  registers  generally  have  a 
])rojecting  front,  though  the  majority  of  them  are  made  tlush, 
then  appearing  more  like  Fig.  19,  which  is  a  ventilating 
valve  register.  Registers  in  the  floor,  when  used,  which 
ought  to  be  seldom,  are  shown  by  lines  in  an  oblong  figure, 
with  crossed  diameters,  and  the  size  in  figures  marked  thereon. 
Fig.  18  shows  a  hot-air  flue  in  a  wall.  The  flue  supplies 
an  upper  part,  but  their  location  is  oftentimes  necessary  to 
be  determined  in  the  floor  below.  All  hot-air  flues  should 
be  surrounded  by  iron  lath  throughout  their  passage,  aud  the 


Fig.  17.  Fig.  18.  Fig.  19. 

flue  itself  and  the  register-box  in  the  best  work  are  made 
double,  with  an  inch  of  space  between  inner  and  outer  skins, 
thus  reducing  the  chances  of  a  conflagration  from  an  over- 
heated furnace  to  a  minimum.  The  shaded  parts  are  the 
surrounding  wall. 

Fig.  19  illustrates  the  method  of  indicating  on  a  plan  a  ven- 
tilating flue.  The  shaded  part  is  a  brick  wall,  and  the  flue  is 
a  notch  or  jog  4x8  inches.  At  every  opening,  where  the 
flue  communicates  with  the  room,  is  placed  some  form  of 
register  controlling  the  flow  of  air.  In  wooden  walls  a  flue  of 
wood  or  tin  should  be  used. 

Fig.  20  illustrates  the  usual  way  of  showing  a  hot-air  fur 
nace  in  a  cellar.     The  wails  are  of  eight-inch  brick,  and  a 
the  centre  are  shown  the   grate,   tire-pot,  and  door-Wiy. 


draftsman's  manual. 


11 


The  usual  dimensions  needed  for  these  furnaces  are  from 
6x6  feel  to  8  x  8  feet.  When  steam  is  the  lieating 
agent,  make  the  brickwork  slightly  oblong,  and  omit  the 
central  circular  fire  pot,  etc.  In  actual  plans  sometimes  it 
BQrves  a  purpose  to  mark  the  location  of  the  hot-air  flues,  as 
they  radiate  from  the  crown  of  the  furnace. 

Fig.  21. — Here  is  shown  an  end  or  side  of  a  bath-room, 
Rome  eight  feet  or  nine  in  length,  acconimo:lating  a  bath-tui) 
and  scat.     The  two  are  usually  in  close  juxtaposition,  as  the 


G 


Fig.  20. 


Fig.  21. 


waste  pipe  of  the  bath-tub  discharges  into  the  soil-pipe,  and 
the  nearer  it  is  the  less  costly  is  the  plumbing.  The  tub  is  of 
the  dimensions  usually  of  2  feet  3  inches  wide  by  6  feet  long. 
A  seat  may  be  20  inches  wide  by  28  inches  long. 

Fig.  22  is  a  corner  wash-stand,  piped  for  hot  and  cold 
water,  and  placed  in  locations  where  there  is  no  room  to 
spare.  Bath-rooms  are  usually  supplied  with  either  one  form 
or  another  of  wash-basin  ;  though  if  there  are  others  in  tlie 
chambers,  one  in  the  bath-room  is  not  so  necessary. 


Fin 


Fisr.  23. 


Fig.  23  is  a  variation  in  form  from  the  preceding  one,  and 
is  used  where  there  is  plenty  of  room.  It  is  a  set  wash-basin 
attached  to  the  wall  by  one  side  only,  and  is  a  little  more 
costly  than  the  corner  style  shown  above. 

Fig.  24  is  the  form  usually  given  to  a  sink  and  surrounding 
shelf.  "Where  there  is  a  cistern  to  draw  from,  a  pump  is 
rightly  placed  as  shown.  A  handy  adjunct  on  the  left  is  a 
drainer,  a  cross-barred  grating  iibov(>  a  slanting  surface, 
draining  whatever  drips  from  or  upon  it  into  the  sink.    It  la 


13 


draftsman's  manual. 


now  more  generally  not  cased  up  underneath,  as  continual 
moisture  and  darkness  caused  rot  and  allowed  unseen  dirt. 
Open  under  it  is  easily  kept  clean. 

Fig.  25  illustrates  the  top  of  a  set  of  three  tubs,  as  they  are 
put  into  kitchens  and  laundries.  The  dotted  lines  show  the 
shape  inside,  shelving  forward  and  under.  Each  tub  has  a 
lid  of  its  own.  The  size  of  each  tub  ought  to  approximate  23 
inches  wide  by  28  inches  long,  measured  inside.  The  depth 
may  be  sixteen  inches.     The  plumbing  consists  in  a  hot  and 


--.J 


Fig.  24. 


Fig.  25. 


cold  water  faucet  for  each  tub,  where  there  is  a  boiler  con- 
nected •with  the  range — only  cold,  when  no  boiler — and  a 
waste-pipe,  plug  and  chain,  all  of  brass.  These  pipes  should 
not  be  put  in  cold  situations,  and  the  tubs  should  be  set  on  legs, 
up  from  the  floor,  so  it  can  be  scrubbed.  The  tubs  are  made  of 
two-inch  white  pine  clear  plank,  dadoed,  and  the  joints  fitted 
accurately  and  painted  with  thick  white-lead  before  put 
together. 

Fig.  26  shows  the  construction  of  a  cupboard.  The  shaded 
parts  are  the  inclosing  sides  and  the  supporting  partitions. 
The  shelves  run  through,  and  are  about  a  foot  wide.     The 


Fig.  36. 


Fig.  27. 


Under  the 
These  are 


upper  doors  are  panelled  either  in  wood  or  glass. 
broad  shelf  are  drawers,  or  a  larger  cupboard, 
built  in  pantries,  store-rooms,  and  kitchens. 

Fig.  27  represents  a  cistern  tank.  Such  are  usually  put  in 
upper  stories,  and,  supplied  by  either  a  force-pump  or  niin- 
water  from  the  roof,  form  the  source  whence  the  boiler  and 
the  other  outlets  are  fed.  It  is  made,  like  the  tubs,  of  licavy 
plank,  size  about  3x4x2  feet,  the  ends  ijrojectiug  and 
clamped  by  iron  rods. 


draftsman's  man  (/At. 


13 


Fig.  28. — This  cut  shows  the  lower  end  of  a  flight  of  stairs. 
The  narrow  double  lines  are  the  wall — the  last  three  steps  aie 
bowed  out.  On  the  side  opposite  the  wall  stands  the  newel, 
to  whicli  is  attached  the  rail,  which 
iij  turn  is  supported  by  balusters. 
The  turning  out  at  the  foot  of  the 
rail  as  it  meets  the  newel  is  usual 
where  there  is  room,  but  in  a  nar- 
row hall  tliere  would  be  only  a 
straight  line  on  the  face  string. 
The  lines  from  rail  to  wall  string  are  the  faces  of  the  risers, 
and  in  the  upper  steps  are  only  dotted  in,  so  tliat  any  con- 
structions under  the  stairs  may  be  shown  in  full  black  lines. 

Fig.  29  shows  the  manner  of  representing  gas  chandeliers. 
The  left-hand  one  is  a  four- light,  the  next  three  light,  the 
next  two-light,  the  next  a  hall  drop-light,  and  the  next  a 


Fig.  28. 


^^O^ 


6 


0--0  -O      O 

Fig.  29. 


single  bracket  projecting  from  the  wall.  In  place  of  the  large 
circles,  sometimes  little  stars  are  made  for  a  flame.  The  cir- 
cles stand  for  the  globes. 

Fig.  30  illustrates  the  manner  of  putting  a  niche  in  a  corner 
— at  the  upper  end  of  a  staircase,  for  instance.  It  has  gen- 
erally a  rule-joint  edge,  or  a  bead,  and  the  slab,  of  marble, 
at  the  bottom  is  made  to  project  enough  to  receive  it,  with  a 
good  finish. 


^ 

itii, ::::;! 

r.Ti 

Siru: 

-4- 

4r?|- 

-f 

1                   1  ' 

Fig.  30. 


Fig.  31. 


Fig.  32, 


Fig.  31  is  a  niche  in  a  square  corner,  such  as  in  apartments 
or  the  end  of  halls  opposite  the  stairs.  It  may  be  finished 
like  the  other,  and  also  with  a  marble  slab  at  the  bottom. 

Fig.  32  gives  a  representation  of  a  common  form  of  tiled 
hall  or  vestibule,  the  projections  seen  at  top  and  bottom  being 


14 


T)RAF'rSMA:N^'S   MAKUAt. 


at  the  sills  of  the  (liu'.)lo  door^  Tlis^e  sills  ought  to  be 
marble  or  slate ;  then  a  course  of  chocolate-colored  plain 
tiles  and  other  brighter -colored  ones  making  a  pattern  towards 
the  centre.  Borders  should  be  in  plain,  solid  colors,  no  matter 
how  lively  the  pattern  in  the  centre  may  be. 

Fig.  33  — We  show  here  the  same  shape  of  vestibule  covei'ed 
with  a  marquetry  floor,  of  vari-colored  woods — black  walnut, 
mahogany,  tulip,  cherry,  etc.  In  a  hall-way  the  border  runs 
around  the  stairs,  so  that  the  pattern  is  at  all  points  inclosed 
in  a  border. 

Fig.  34. — Here  is  represented  an  example  in  the  framing 
plans  of  floors,  etc.  When  a  chimney  or  other  opening 
through  a  floor  is  made  necessary,  double  the  beams  on  each 
side,  and  put  across,  securely  mortised  and  tenoned,  a  header 
of  the  same  section  as  the  doubled  trimmers.  The  shaded 
parts  stand  for  a  brick  wall  and  chimney.  If  the  opening  is 
a  stairway,  trap-door,  or  for  flues  or  pipes,  domes  or  sky- 


Pig.  33. 


Fig.  34. 


Fig.  35. 


lights,  the  method  is  the  same  ;  but  the  timbers,  unless  di- 
rectly supported  from  below,  must  be  carefully  proportioned 
to  bear  the  weight,  cutting,  etc. 

Fig.  35. — In  stores,  banks,  etc. ,  are  often  constructed  fire- 
proof vaults,  of  no  remarkable  size  perhaps,  but  of  great  use 
and  importance,  and  at  a  cost  not  exceeding  a  good  safe, 
though  providing  much  better  and  roomier  space.  Euild  on 
a  solid  or  nearly  solid  f  oimdation  two  eight-inch  walls,  with 
an  air  space  between  them  of  from  two  to  four  inches,  and 
the  tying  brick  irregularly  but  frequently  interspersed.  The 
corners  should  be  solid,  as  shown,  and  so  also  the  door 
jambs.  The  doors  and  frames  are  made  by  iron-workers, 
and  are  set  up,  plumbed,  and  built  in  as  the  work  proceeds. 
The  floor  may  be  tiled,  or  bricked  and  cemented.  The  mor- 
tar should  be  one  quarter  cement.  When  the  requisite 
height  has  been  reached,  the  roof  may  be  made  in  several 
different  ways,  either  arched,  with,  tie-rods  buried  in   the 


draftsman's  maktjal. 


15 


materia],  or  with  iron  beams  stretched  across  the  shortest  di- 
ameter, and  brick  laid  in  mortar  between,  for  a  foot  in  depth. 
Then  plaster  the  sides  as  on  any  room  wall.  The  vault,  if  in 
a  high  story,  may  be  made  with  a  second  one  on  top,  or  in  a 
large  office  building,  carried  up  through,  giving  a  vault  ou 
6ach  floor. 

Fig.  36. — In  this  figure  we  give  one  of  the  commonest  forms 
of  store  fronts.  The  girder  carrying  the  front  wall  of  the 
superstructure   is  supported   by  the  two    iron  columns  to- 


Fig.  36.  Fig.  37. 

wards  the  centre.  Doors  recessed,  and  in  front  of  them  a 
vault  light  in  the  floor  (see  Figs.  38  and  39).  Variations  of 
this  form  are  to  bring  the  show-windows  forward  like  bay- 
windows,  or  to  have  the  jamb  or  narrow  side-lights  at  a  dif- 
ferent angle  from  the  right  angle.  When  the  girder  above  is 
a  compound  cast  and  wrought  segment,  there  need  be  no 
columns  in  the  front  at  all,  and  the  doors  and  show-windows 
may  be  altered  at  any  time  without  disturbing  the  girder  and 
front  of  building  above. 


Fig.  38.  Fig.  39.  Fig.  40. 

Fig.  37  is  a  representation  of  a  smaller  or  narrower  front 
than  the  preceding.  Here,  after  the  necessary  width  for  the 
doors  is  taken  out,  all  the  rest  should  be  given  to  the  show- 
window.  If  more  symmetry  is  desired,  place  the  column  in 
the  centre,  and  slant  the  jamb  light  to  the  door  frame.  A 
vault  light  is  placed  in  front  of  the  doors.  The  shaded  parts 
are  brick  waUs. 

Fig.  38  shows  a  vault  or  floor  light,  used  to  light  cellars, 
etc.,  a» '[  placed  in  the  floors  of  stores  to  transmit  the  ligh* 


16  draftsman's  manual. 

below.  It  is  made  of  a  cast-iron  frame  with  cross  bars,  re- 
bated, and  the  squares  of  glass  are  from  three  quarters  of  an 
inch  to  one  and  a  quarter  inch  thick,  joined  accurately  at  the 
top  edges,  and  set  in  cement  or  putty,  so  that  they  are  water- 
tight. Any  number  of  frames  can  be  joined  together  to  make 
a  large  light  space,  but  a  single  frame  is  not  usually  larger 
than  3x4  feet. 

Fig.  39. — This  vault  light  is  for  outside  use,  in  side-walks, 
in  that  portion  next  to  the  house  or  store,  and  consists  of  a 
cast-iron  frame  as  before,  but  instead  of  the  cross-bars  small 
holes  two  and  a  half  inches  diameter  are  left,  into  which 
are  cemented  bull's  eyes  of  glass,  the  whole  of  the  joints 
afterwards  made  tight  by  painting  with  tar.  Round  vault 
lights  of  the  same  description  are  made  to  set  in  the  sidewalk, 
to  light  large  vaults  built  under  it. 

Fig.  40. — This  cut  shows  the  construction  of  a  wooden 
washing  floor  in  a  stable,  or  more  properly,  carriage  house. 
The  top,  level  with  the  surrounding  plank  floor,  is  formed  of 


C 


Fig.  41.  Fig.  42. 

Stout  bars  of  wood,  two  inches  square,  properly  supported, 
and  about  two  inches  apart.  The  diagonal  diameters  are  tim- 
bers, rebated  to  receive  a  planking,  and  inclined  four  to  six 
inches  toward  the  centre  to  form  a  drip  converging  into  the 
waste-pipe  there  placed.  A  washing  floor  can  be  constructed 
in  other  materials,  stone  or  brick,  on  the  same  principle,  by 
making  the  inclination  less,  say  two  inches,  and  omitting  the 
grating.  A  screener  should  be  placed  over  the  waste  to  keep 
the  pipe  from  being  clogged  by  straws,  chips,  etc. 

Fig.  41  shows  how  to  draw  pews  in  a  church.  The  dis- 
tance from  back  to  back  varies  according  to  the  number  de- 
sired to  accommodate.  For  instance,  if  at  three  feet  apart  (a 
roomj'  dimension),  a  certain  number  can  be  seated,  and  more 
are  desired,  place  them  two  feet  ten  inches,  and  a  score  or 
two  will  be  added  to  the  seating  capacity. 

Fig.  42  is  a  mode  of  drawing  desks  and  seats  in  school- 
rooms.    Some  desks  are  only  single.    Aisles  between  every 


DRAFTS^rAlsr's  MANUAL.  17 

desk,  from  24  to  SO  inches  wide.  Some  desks  have  seats  com- 
bined in  front,  but  separate  seats  are  more  desirable. 

Stucco  cornices,  in  angles  between  ceiling  and  wall,  are 
sometimes  shown  on  plans  by  a  dotted  line  around  the  walls 
of  the  room.  These  cornices  must  follow  every  break  in  the 
walls,  and  are  drawn  the  required  width  on  the  scale,  and 
have  figures  on  them  to  mark  the  vertical  dimension.  Centre- 
pieces, also,  are  lightly  dotted  in,  to  show  the  shape,  whether 
round,  oval,  or  lozenge.  Some  attics  or  French  roof  stories 
have  the  roof-side  walls  furred  vertical,  leaving  an  air  space 
next  to  the  roof.  This  is  shown  on  plans  by  a  thin  partition, 
drawn  some  distance  inside  of  the  walls,  as  much  as  is  neces- 
sary to  give  the  vertical  wall  the  desired  heiglit. 

On  plans  for  churches,  stores,  schools,  and  other  buildings 
devoted  to  special  uses,  there  are  many  more  kinds  of  repre- 
sentations. The  doors,  for  public  use,  in  buildings  wliere 
there  are  numbers  congregated  together  should  be  hung  so 
as  to  swing  outward. 

GENERAL  REMARKS  OK  PLANJflNG. 

The  first  plan  generally  drawn  is  the  most  important  one — be 
it  the  first  or  second  floor,  and  regard  must  be  constantly  had 
in  the  mind  as  to  wliat  goes  above  and  below  it.  The  manner 
of  roofing  particularly  must  be  consulted  at  every  angle,  in 
order  that  the  gables  shall  not  all  be  different  widths  and 
heights,  or  of  diverse  pitch. 

So,  too,  the  location  of  windows  and  doors  must  be  deter- 
mined with  reference  to  the  building,  as  a  whole,  conceived 
in  the  mind,  rather  than  the  apparent  wants  of  the  first  floor 
only.  So  if  windows  are  properly  placed  in  tlie  stories  be- 
low, the  designer  when  he  comes  to  the  elevations  will  rarely 
oe  troubled  with  the  vexation  of  finding  that  a  raking  cornice 
cuts  his  intended  dormer  in  two,  or  his  roof  so  crowded  with 
gables  and  gablets,  hips  and  valleys,  as  to  make  it  an  expen- 
sive affair  to  construct  and  keep  tight. 

There  are  empirical  loiles  for  regulating  the  size  of  win- 
dows so  as  to  admit  the  supply  of  light  necessary  to  fully 
satisfy  the  requirements  of  the  room,  but  as  that  calculation 
is  rarely  necessary,  except  in  the  larger  structures,  such  as 
exchanges,  churches,  schools,  etc.,  I  will  only  say  here  that 
common-sense  should  teach  any  clear-headed  designer  of  or- 
dinary dwellings  the  number  and  size  of  the  windows  necea 


18  draftsman's  maktjal. 

sary  to  light  the  rooms  and  halls  in  his  plan.  Usually  "win- 
dows in  each  story  are  of  uniform  height,  if  not  width  ;  but 
that  is  not  absolutely  necessary.  Pantries,  closets,  bath- 
rooms, dressing  -  rooms,  stair-halls,  and  attics  may  all  have 
windows  differing  in  shape  and  size  from  the  rest  in  each 
story,  and,  judiciously  combined  with  the  other  features  of 
the  elevation,  they  add  to  its  appearance,  and  indicate  their 
uses.  The  designer  cannot  expend  too  much  thought  upon 
the  niunber  and  position  of  his  windows  and  doors  with  ref- 
erence to  the  size  of  the  room,  what  it  is  to  be  used  for,  and 
the  pieces  of  furniture  it  is  to  contain. 

It  may  seem  superfluous  to  speak  of  such  an  obvious  duty, 
but  it  is  one  nevertheless  which  is  but  too  often  slackly  per- 
formed, and  the  result  is  a  bad-looking,  inconvenient  set  of 
rooms.  A  parlor  should  always  have  one,  if  not  two  places 
where  a  piano  could  be  placed  against  a  wall  far  from  the 
sources  of  heat.  A  sideboard  should  be  thoughtfully  pro- 
vided for  in  a  dining-room,  a  large  table  in  a  kitchen,  and 
one  place  certainly,  better  two,  for  a  bed  in  every  chamber. 
Also  gas  brackets  should  be  so  arranged  as  to  light  a  dressing- 
case,  even  when  it  is  ir  a  good  position  for  receiving  daylight. 

In  planning  a  first  floor  it  is  desirable,  if  it  can  be  done,  to 
face  the  house  at  one  of  the  four  midway  points  of  the  com- 
pass, such  as  north-east,  north-west,  south-east,  or  south-west. 
Thus  all  the  rooms  are  sure,  at  some  portion  of  the  day,  to 
receive  sunlight,  more  or  less.  Where  such  a  position  for  the 
house  is  impossible,  try  and  make  the  dining-room  face  the 
eastward,  or  have  some  windows  letting  in  east  light,  or  if  the 
house  is  a  large  one,  the  breakfast-room  might  be  so  placed, 
and  the  dining-room  be  on  the  west.  A  sitting-room  is  pleas- 
ant if  it  faces  the  south.  A  kitchen  may  face  the  north,  as 
from  its  heated  condition  it  protects  the  rest  of  the  house 
from  the  cold  of  that  quarter. 

In  general  the  living  rooms  should  be  so  situated  as  to  re- 
ceive the  Sim.  Water-pipes  to  set-bowls,  bath-tubs,  wash- 
tubs,  sinks,  and  tanks  should  be  run  in  sheltered  situations, 
care  being  taken  to  put  them  next  to  chimneys,  or  in  interior 
partitions,  never  on  outside  walls,  unless  carefully  protected 
and  boxed. 

Whatever  the  direction  in  which  the  rooms  may  be  made 
to  face  (which  with  most  houses  is  not  a  mooted  point),  the 
interior  arrangement  of  them  is  more  amenable  to  circum- 
stances.    It  is  desirable  to  have  the  entrance  so  placed  as  to 


DRAFTSMAN'S  iVIAXITAt.  19 

be  readily  discernible  from  llio  outside,  sheltered  bj'  a  porch 
or  else  a  vestibule  with  its  outer  and  inner  set  of  doors. 

The  hall  to  v/hich  these  doors  give  access  should  be  roomy 
near  them,  and  the  stairs,  if  possible,  placed  in  a  subordinate 
,  passage.  Folding  or  sliding  doors  to  the  parlor  from  such  a 
hall  are  suitable,  but  if  the  stairs  are  necessarily  put  near  the 
front  door  it  is  sometimes  possible  to  start  them  at  the  rear 
end  of  the  hall,  and  give  the  run  forward,  cutting  off  the  last 
three  or  four  upper  steps  by  an  arch,  thus  making  a  clear 
space  near  the  front  door. 

But  often  the  old  arrangement  is  best,  especially  where  tlie 
front  stairs  are  the  only  ©nes  in  a  house,  and  a  cellar  fliglit 
must  be  under  them  ;  though  even  then  a  wide  close  flight 
might  lead  from  a  small  hall  near  the  front  door  and  answer 
all  purposes. 

It  is  generally  wished  that  the  front  door  may  be  attended 
to  by  the  servant  without  necessitating  a  passing  through  a 
room,  as  the  dining  or  sitting  room  ;  but  in  contracted  cases, 
either  in  lot  or  purse,  that  cannot  always  be  accomplished. 

The  back  parlor,  or  sitting-room,  library  and  chamber,  if 
there  is  one  on  the  first  floor,  should  open  from  a  hall,  either 
front  or  rear.  A  chamber  may  open  from  the  sitting-room, 
but  it  is  not  to  be  desired,  as  the  utmost  ease  of  access  with 
possible  privacy  should  be  sought  after,  with  all  approaches 
to  bedrooms.     Such  is  alwaj^s  best  attained  by  a  hall. 

The  pantries  and  china  closets  should  be  so  situated  that 
they  are  on  the  coldest  side  of  the  house,  or  between  the 
kitchen  and  dining-room,  so  as  to  shut  off  the  odors  of  cook- 
ing. A  laundry,  if  only  little  more  than  large  enough  to  hold 
the  tubs,  is  very  desirable,  to  take  Monday's  slop  out  of  the 
kitchen,  and  should  open  from  that  room.  * 

GEXRRAL   REMARKS  ON  EXTERIORS. 

Coal  and  wood  sheds  are  now  nearly  obsolete,  and  those 
materials  are  stored  in  the  cellar,  access  to  which  ought  to  be 
convenient  under  the  back  stairs— the  door  to  the  cellar  open- 
ing out  of  the  kitchen,  or  from  a  passage  but  a  step  or  so  fur- 
ther. But  sometimes  a  small  shed  maybe  inclosed  from  part 
of  a  veranda,  running  alongside  of  the  kitchen,  and  the  house 
be  no  worse  in  looks  for  it. 

Verandas  should  be  on  the  sunny  sides  of  a  house,  and 
should  not  be  too  freely  used  unless  the  climate  is  one  which 

*See  Appendix  B. 


20  tRAFTSMAX's   >rA:BTT*t. 

demands  their  tisc.  Bay-'W"indcT#3  ii».'  generally  good 
features,  if  not  too  numerous.  They  maj  best  be  used  to 
catch  a  desired  view,  or  to  enlarge  a  small  room  ;  unless  quite 
large  they  should  not  extend  above  the  first  floor.  The 
shapes  vary,  but  it  is  more  dignified  jot  to  use  many,  or  more 
than  two,  forms  on  the  same  house.  One  form  of  bay  has 
been  illustrated,  and  is  a  very  good  one  for  general  use. 
Then  there  are  bays  of  a  square-angled  form,  and  those 
whose  sides  are  at  an  angle  of  45°,  having  the  three  sides 
equal,  or  the  second  side  the  longest.  Bays  of  a  V  shape  are 
capricious,  and  do  not  contain  much  room,  and  those  of  a 
segment  or  semicircular  form  are  good  looking,  but  are  apt 
to  be  expensive  in  execution. 

There  are  various  ways  of  finishing  their  roofs,  but  the 
most  usual  way  is  to  make  it  similar  to  the  veranda  roofs  near 
by. 

Interiorly  the  opening  into  the  bay  is  usually  arched,  or 
with  a  straight  lintel,  supported  by  corbels  ;  but,  if  the  ceil- 
ing of  the  bay  is  on  the  same  level  as  that  of  the  room,  there 
is  no  need  of  an  arch,  but  the  cornice  of  the  room  may,  if  not 
too  large,  be  run  into  the  bay,  and  around  its  angles. 

The  chief  reasons  for  having  a  dividing  line  at  the  ceiling 
between  the  bay  and  the  room  are,  the  difference  in  level 
sometimes,  and  the  difficulty  of  taking  a  large  cornice  into  a 
baj-^  much  too  small  for  it.  The  bay,  if  separated  from  the 
room  by  an  arch,  should  always  be  corniced  with  a  small 
pattern. 

Oriel  windows  are  bays  on  upper  stories,  and  usually  pro- 
ject from  the  walls,  supported  by  brackets,  trusses,  or  con- 
soles ;  and  the  same  remarks  will  apply  to  them  as  were  writ- 
ten about  bays,  except  that  they  are  more  rarely  used,  on  ac- 
count of  a  rather  unwieldy  appearance  and  difficulty  of  man- 
agement, except  on  large  constructions. 

When  designing  gables,  it  is  necessary  to  observe  caution 
in  their  disposal,  so  as  not  to  have  two  immediately  together  ; 
for  the  old-fashioned  M  roof  is  no  longer  considered  stylish, 
and  never  was  beautiful.  Gables  may  vary  slightly  in  their 
pitch  from  each  o'her,  as  a  little  difference  is  not  readily  no- 
ticed ;  but  too  much  contrast  is  to  be  avoided,  if  the  dwelling 
is  desired  to  have  a  finished,  well-studied  effect.  Gables  and 
ridges  should  have  the  same  heights,  or  pretty  considerable 
difference  the  one  from  the  other — that  is,  it  generally  looks 
better  to  have  a  subordinate  gable  some  feet  lower  than 


DEAFTSMAN''S   MANUAL.  21 

the  principal  one,  rather  than  to  come  within  a  few  inches 
of  it. 

In  houses  with  a  plan  approaching  a  square,  it  will  often 
happen  that  there  will  be  a  deck  at  the  junction  of  the  ridges 
of  the  gables,  if  they  are  of  equal  height ;  and  where  a  deck  is 
likely  to  occur,  the  gables  had  better  be  kept  at  a  uniform 
width,  pitch,  and  height.  But  in  a  very  long  plan  care  for 
the  above  is  not  so  necessary,  as  the  deck  is  unlikely  to  be 
formed. 

Pediments  are  mere  ornaments,  and  much  might  be  said  to 
prove  that  they  ought  not  to  be  used,  except  in  a  very  moder- 
ate way,  on  cornices  where  the  roof  is  low-pitched.  In  tlx; 
formal  classic  styles,  as  they  are  now  used,  under  the  rules  of 
the  Renaissance,  pediments  are  more  in  vogue  over  windows, 
doors,  pavilions,  etc.,  than  in  the  more  ordinary  designs  of 
every -day  practice. 

The  chimneys  should  be  so  located  on  the  plans  that  when 
they  are  topped  out  above  the  roof  they  will  not  be  over- 
shadowed by  any  part  of  it,  and  therefore  chimneys  generally 
should  not  be  placed  in  the  outside  walls  of  any  house  which 
has  a  steep-pitched  roof.  A  certain  boldness  of  style  may 
indeed  carry  off  well  the  tall,  spire-like  stack,  when  rising 
far  to  clear  an  impending  ridge ;  but  the  boldness  must  not 
be  confined  to  the  one  part  only,  and  hence,  unless  the  whole 
design  is  treated  alike,  one  part  ought  not  to  have  such  umlui^ 
prominence.  Besides,  there  is  danger  to  both  roof  and  chim- 
ney from  snoA^s  and  storms.  A  reason,  aside  from  those 
given  above,  why  chimneys  should  be  planned  ou  inside 
walls,  is  that  one  stack  accommodates  more  rooms,  and  tlie 
heat  is  better  retained,  and  thus  the  house  is  economical  ; 
also,  the  design  is  rendered  more  symmetrical  by  having  tiie 
chimney-tops — the  highest  parts,  as  a  rule— grouped  in  the 
centre. 

Towers  and  cupolas  are  of  individual  taste  and  preference. 
Some  clients  think  a  couple  of  hundred  dollars  well  spent 
in  such  a  finish,  no  matter  whether  either  tower  or  cupola  is 
ever  visited  for  the  sake  of  the  viev/,  or  whether  there  is  any 
view  to  try  and  see.  Common-sense  woidd,  it  seems  to  me, 
decide  at  once  whether  a  tower  or  cupola,  aside  from  the 
cost,  were  necessary  to  a  house  or  not. 

A  word  about  gutters  in  main  cornices.  Of  course,  in  bay- 
windows,  purches,  and  small  protections  to  openings,  gutters 
must  be  used  to  some  extent,  but  in  main  cornices  it  would 


«K  DRAFTSMAN'S  MANUAL. 

be  well  to  try  and  avoid  them  ;  because,  at  least  in  climates 
inclement  during  half  the  year,  the  ice  forming  in  them  is 
apt  to  crack  and  tear  the  lining,  dam  up  the  opening  to  the 
conductor,  and  scale  the  paint  in  all  places  where  icicles 
form,  to  say  nothing  of  the  actual  danger  attending  the  fall- 
ing of  large  masses  of  ice  in  melting  weather.  Leaks  in  gut- 
ters conduct  the  water  directly  to  the  interior  of  the  house, 
and  are  among  the  most  troublesome  of  the  annoyances  a  roof 
can  inflict,  being  in  the  same  category  with  the  celebrated 
leaky  roof  of  the  Irishman,  whose  excuse  for  not  mending  it 
was  that  when  it  was  fine  it  didn't  need  mending,  and  when 
it  rained  he  couldn't. 

On  flat  and  deck  roofs  gutters  may  be  avoided  by  framing 
the  deck  exactly  like  a  washing  floor,  in  a  carriage  house,  be- 
fore described,  and  taking  the  conductor  down  near  a  con- 
stantly used  chimney.  This  conductor  should  be  of  iron  or 
earthenware,  and  buUt  into  a  jog  in  the  brickwork  of  the 
chimney.  Then  the  rush  of  water  will  make  no  noise,  and 
the  outlet  at  the  roof  will  never  be  frozen  up,  the  moist  air 
from  the  cellar  rising  through  it  keeping  off  the  formation  of 
ice  ;  and,  last,  there  will  be  no  icicles  forming  on  the  cornice. 
In  the  case  of  roofs  with  a  pitch  they  should  be  so  planned 
that  the  slope  will  be  great  enough  to  slide  off  the  snow  before 
it  can  accumulate,  and  the  doors  in  the  first  floor  must  not 
be  in  the  sides  where  the  fall  would  be  ;  or  else  in  the  cornice 
a  gablet  may  be  used  over  the  door  to  divide  the  masses, 
so  as  to  shelter  the  place  where  the  door  is.  Low-pitched 
roofs,  and  some  of  greater  pitch  too,  are  provided  with  gut- 
ters put  on  a  foot  or  so  above  the  crown  mould  supported  by 
small  braces.  A  light  iron  railing  is  often  put  on  the  slope  of 
roofs,  in  the  same  position,  to  arrest  falling  masses  of  snow 
and  ice. 

DR.\WING  THE  PLAN. 

The  foregoing  instructions  and  illustrations  as  to  the  parts 
of  a  plan  being  borne  in  mind,  the  learner  may  now  essay  to 
draw  the  plan  of  a  house.  For  the  first  we  will  suppose  an 
easy  plan — say,  three  rooms  ou  each  floor.  The  house  to  be 
frame,  resting  on  a  stone  foundation  ;  the  main  part  gabled, 
and  also  the  rear  part,  but  lower.  The  cottage  is  to  be  for 
refined  occupants,  who  desire  front  and  rear  stairs,  large  pan- 
try and  china  closet  room,  rooms  of  lib<!ral  size,  and  the  ex,- 


draftsman's  manual.  2'd 

terior  plain,  neat,  but  in  keeping  with  the  scale  within 
doors. 

The  object  of  tliis  plan  is,  to  show  the  student  how  to  com- 
bine the  parts  of  plans  which  have  been  illustrated  before, 
so  we  will  suppose  a  simple  cottage,  but  one  in  which  we  can 
show  most  of  the  parts  brought  together  as  the}'  naturally 
would  be.  Let  the  kitchen  be  on  the  north  side,  flanked  on 
the  west  by  the  laundry  and  pantries.  Dining-room  on  the 
west,  hall  in  centre,  and  parlor  on  the  east.  The  south  ex- 
posure protected  by  a  veranda.  The  laundry  is  small,  as  be- 
fore spoken  of ;  and  a  passage  connects  dining-room  with 
kitchen  and  hall,  and  separates  it  from  both,  to  their  mani- 
fect  advantage.  Over  the  kitchen  is  a  room  for  the  servant, 
furred  off  for  trunk  and  other  closets  at  the  sides,  and  reached 
by  a  rear  stairs  as  well  as  by  a  front  flight.  Over  the  other 
two  rooms  are  chambers,  spacious  and  of  good  height,  with 
closets.  A  bath-room  is  in  the  rear  part,  handy  to  the  water 
supplies.  The  cellar  extends  under  the  whole  house,  and  is 
reached  from  the  outside  by  a  flight  of  stone  steps,  and  from 
the  kitchen  by  a  flight  under  the  rear  stairs.  From  the  copi- 
ous descriptions  hitherto  given,  the  parts  need  not  be  de- 
scribed here  in  detail,  but  it  is  sufficient  if  the  learner  recog- 
nize them  in  their  relative  positions. 

Points  to  be  remembered  in  laying  out  the  second  floor  plan 
are  :  As  to  the  stairs,  to  be  sure  and  give  head  room  enough- 
six  feet  and  a  half  to  eight  feet  is  the  range  of  the  require- 
ments ;  get  bath-room  as  near  over  the  boiler  in  kitchen  as 
possible,  and  easy  of  access  from  hall  and  bedrooms  ;  hall 
is  to  be  as  well-lighted  as  possible,  never  to  be  dark  in  day- 
time, even  with  all  doors  closed  ;  chimneys  passing  through 
rooms  to  have  a  flue  devoted  to  the  use  of  that  room,  and 
connected  with  it  by  a  thimble  in  flue  ;  cellar  windows  should 
be  double — that  is,  a  swinging  sash  inside,  for  use  during  the 
mild  and  hot  months,  and  another  sash  in  the  rebate  on  the 
outside,  to  put  m  during  severe  weather. 

USING  THE  INSTRUMENTS. 

The  mere  drawing  of  the  lines  on  the  paper,  guided  by  the 
T  square  and  triangles,  is  simple. 

Procure  a  board,  with  straight  edges  and  square  corners, 
and  with  four  thumb  tacks,  secure  to  it  a  sheet  of  paper, 
about  18  X  34  inches.    Holding  in  the  left  hand,  lightly  but 


24 


draftsman's  manual. 


firmly,  the  stock,  or  cross-piece  of  the  T  square,  as  it  rests  on 
the  board,  with  the  stock  oa  and  up  to  the  left  eds^e  of  the 
board,  slide  it  to  or  from  you  according  to  the  position  of  the 
lines,  and  all  the  lateral  lines,  or  those  from  side  to  side, 
may  be  made.  For  the  vertical  ones  take  a  triangle,  place 
one  side  on  the  top  edge  of  the  blade  of  the  square,  and  with  ' 
the  Augers  of  the  left  hand  so  hold  the  triangle  that  the  verti- 
cal or  oblique  lines  may  be  made,  sliding  it  to  right  or  left  as 
needed,  and  never  forgetting  to  keep  the  lower  part  of  the 
palm  of  the  left  hand  on  the  blade  of  the  square,  always  ex- 
ercising a  gentle  pressure  to  keep  the  stock  up  to  the  edge  of 


rimr  Floor. 


the  board,  so  that  the  square  and  triangles  will  be  sure  to 
work  true.  Circles  and  regular  curves  are  made  by  pencil 
compass  ;  and  care  must  be  taken  by  him  who  would  become 
a  neat  draftsman  not  to  press  the  point  in  too  hard,  and  to 
move  the  right  hand,  in  which  the  compass  is  held,  in  a 
shght  circle,  to  keep  the  pencil  point  toucliing  the  paper,  but 
not  too  hard,  lest  the  pencil  take  the  place  of  the  pivot  point, 
and  out  comes  the  point  and  scrape  goes  the  pencil,  to  the 
great  disgust  of  the  draftsman.  After  the  first-floor  plan  is 
delineated,  man}'^  designers  proceed  to  draw  the  elevations. 
The  upper  floors  are  comparatively  easy,  and  so  is  the  cellar. 
Thus  the  same  process  with  square  and  triangle  is  with  them 
to  be  repeated — indeed,  these  two  instruments  are  in  constant 
action. 


DRAFTSMAN  S   MANUAL. 


25 


DESIGNING  THE  ELEVATIONS. 

As  previously  directed,  the  style  of  the  roof  should  have 
been  studied  at  the  time  of  planning  the  first  floor,  so  that,  if 
a  gable  roof  is  intended,  the  widths,  pitch,  and  consequent 
height  of  ridge  vfill  come  out  right. 

If  a  level  cornice  hip  roof  or  a  French  roof  be  designed,  the 
breaks  in  the  walls  may  be  less  carefully  arranged.  Follow- 
ing our  intended  programme,  we  will  make  the  main  pnrt 
with  a  gable  roof,  running  from  side  to  side,  and  a  gablet 
over  projection  in  centre.  The  rear  is  also  gabled,  but  lower 
than  the  main  part. 


Tix  a  piece  of  paper,  as  before,  large  enough  to  take  the 
intended  design,  and,  leaving  room  enough  at  the  bottom  for 
lettering,  and  extending  the  cellar  walls  below  the  grade, 
draw  the  ground  line,  running  the  pencil  along  the  top  edge 
of  the  square  nearly  across  the  paper.  Then  determine  the 
height  above  the  ground  the  first  floor  is  to  be.  It  varies 
from  two  feet,  about  the  lowest,  to  four  feet,  except  in  pecu- 
liar circumstances,  when  it  must  be  placed  accordingly. 
Draw  another  line  at  this  point,  parallel  to  the  first.  Then  at 
the  side  or  margin  of  the  paper  draw  two  parallel  vertical 
lines,  using  the  triangle,  as  far  apart  as  the  thickness  of  the 


26 


BRAFTSilAN'S  MAN^UAi 


projected  wall.  This  is  to  represent  a  section  of  the  wall, 
and  the  floor  lines  must  be  run  from  it  just  far  enough  to 
show  what  tliej"^  are.  Next  determine  how  high  you  want  the 
first  and  second  stories,  and  mark  the  ceiling  of  the  first  story 
on  the  wall,  and  draw  the  line  out.  One  foot  above  this  line, 
mark  and  draw  out  another,  representing  the  top  of  the  sec-" 
ond  floor.  The  sjime  done  higher  up  on  tlie  wall  will  deter- 
mine the  height  of  the  second  story.  As  the  cottage  we  are 
drawing  has  no  third  story,  this  is  as  far  up  as  we  shall  go. 
Beginning  again  at  the  first  floor,  measure  down  from  its  un- 
der side  from  six  and  a  half  to  seven  and  a  half  feet,  and 
draw  a  line  there  parallel  with  the  other  floor  lines.  This  is 
the  top  of  the  cellar  floor. 


The  thickness  is  according  to  circumstances ;  as  for  in- 
stance, if  of  brick.  lai<l  in  saad,  two  and  a  half  inches  will  be 
the  distance  from  the  top  line  to  the  lower  one,  denoting  the 
thickness  of  the  floor.  If  of  broken  stone,  finished  with 
cement,  from  six  to  eight  inches  will  be  the  requisite  thick- 
ness. 

The  wall  shown  above  is  of  one  thickness  from  the  first 
floor  to  the  plate  ;  below  the  first  floor  it  is  of  stone,  twenty 
or  twenty-four  inches  thick,  down  to  the  cellar  floor,  at  and 
under  which,  from  eight  to  sixteen  inches  thick,  it  widens  to 
a  footing  course,  six  inches  wider  each  side  of  the  net  cellar 
walls. 

^he  plate  is  the  bearing  beam,  t,t  the  top  of  the  wall,  where 


draftsman's  manual.  27 

the  rafters  rest ;  and  its  height  above  or  below  the  ceiling  of  the 
second  story  is  determined  solely  by  the  taste  of  the  designer  ; 
sometimes  forming  a  broad  frieze,  and  having  the  cornice  high 
above  the  second  story  windovps,  and  sometimes  bringing 
down  the  cornice  till  it  overhangs  and  shades  the  window 
heads,  or  they  are  broken  up  through  it.  This  design  shows 
a  medium  height,  and  not  too  great  projection  of  rafters. 
The  pitch  of  the  rafters  too  is  a  poiat  left  entirely  to  the  de- 
signer, though  circumstances  sometimes  point  out  whether  a 
roof  should  be  steep  or  low-pitched.  When  we  have  deter- 
mined these  points  on  our  marginal  sketch,  the  first  floor 
plan  is  placed  above  where  the  elevation  is  to  be  drawn,  and 
fastened  there,  with  the  front  downwards.  Then  draw  light 
lines  down  vertically  from  the  corners  and  openings,  or,  bet- 
ter, to  avoid  marking  up  the  paper  too  much,  place  the  stock 
of  the  square  at  the  bottom  edge  of  the  board,  with  the  tongue 
pointing  vertically,  instead  of  horizontally,  as  before  ;  and, 
just  bringing  the  edge  right  or  left  to  the  point  desired  on  the 
plan,  make  a  mark  on  the  sheet  where  the  elevation  is  to  be 
drawn — the  corner  lines  may  be  struck  up  long,  and  the  win- 
dow marks  shorter. 

Then  replace  the  square  so  as  to  work  it  on  the  left  side  of 
the  board,  and  draw  horizontal  lines  from  the  marginal  fig- 
ure, called  the  section — first  at  the  cornice,  giving  a  line  for 
every  member  next  the  frieze,  and  then  below  that  for  the 
heads  and  sills  of  the  windows.  These  last  are  placed  on  the 
section  by  the  following  rules  : 

Sills  should  vary  from  twenty  to  thirty  inches  high  from 
the  floor,  and  the  heads  of  windows  should  be  a  foot 
to  two  feet  from  the  ceilings.  Veranda  cornices  are  best 
placed  at  the  same  line  as  that  forming  the  top  of  the 
second  floor,  and  their  cornices  and  finish  under  in  small- 
er proportion,  but  resembling  the  main  cornice.  These  out- 
side features  being  so  much  more  variable  in  appearance, 
at  the  will  of  the  designer,  it  would  take  too  much  space  to 
illustrate  them  more  at  length  than  is  done  here,  nor  wouM 
it  be  profitable,  as  no  two  houses  are  ever  designed  alike. 
The  most  usual  division  of  lights  to  a  sash  is  now  four  to  an 
opening,  or  two  lights  to  the  upper  and  two  to  the  lower 
sash.  A  fine  appearance  is  gained  by  having  only  two  lights 
to  an  opening,  or  one  to  each  sash,  but  when  used  it  must  be 
\n  an  appropriate  situation— not,  for  instance,  in  a  thousand- 
\iollar  cottage. 


28  draftsman's  manual. 

Plate  glass  must  always  be  used  iu  as  large  lights  as  possi- 
ble, not  divided  as  sheet-glass  may  be. 

Front  doors  usually  have  figured  or  embossed  glass  in  the 
upper  panels.  If  there  are  two  sets  of  doors,  the  outside  set 
has  glass  in  the  small  top  panels,  and  the  inside  set  in  the 
long  upper  panels. 

It  will  readily  be  seen  from  the  foregoing  that  the  object  of 
these  pages  has  been  to  teach  or  show  the  learner  how  to  rep- 
resent on  paper  those  parts  of  the  plans  of  houses  which  do 
not  vary  much  ;  the  same  could  not  be  done  with  external 
features,  as  they  vary,  not  only  with  every  designer,  but  in 
every  elevation  that  every  designer  makes.  With  practice 
will  come  facility  and  the  representatioa  of  many  things  not 
here  shown — original  perhaps  with  him  who  makes  them. 

As  for  the  elevations,  their  component  forms  are  much  less 
•  arbitrary  than  those  of  the  plans  ;  hence  the  desirability — nay, 
the  necessity  rather  —  of  leaving  the  further  discussion  of 
them,  to  each  reader,  who  will  be,  it  is  hoped,  also  a  student. 

TRACLXG  AJiD  IKKIxXG. 

Thess  operations  are  simply  mechanical,  but  require  a 
light,  steady  touch,  and  care  in  handling  the  instruments. 

After  drawing  in  pencil  some  time,  and  being  accustomed 
to  sliding  the  square  and  triangles  around  over  lines  just 
made,  it  requires  constant  thought  to  avoid  doing  the  same 
when  inking  over  on  the  same  paper  the  pencil  lines  which 
are  drawn  ;  or  when  putting  the  ink  on  the  tracing-cloth, 
through  which  can  be  seen  the  pencil  or  ink  lines  on  the  paper 
underneath. 

Commence  operations  \>y  rubbing  up  the  ink.  Pure  water 
is  good,  and  so  is  vinegar.  Put  a  small  quantity  in  the  well, 
in  the  end  of  the  ink  slab — not  two  thirds  full — and  taking 
the  stick  of  ink,  dip  it  in  the  liquid  every  three  or  four  rubs, 
until  it  is  perfectly  black.  That  point  can  be  readily  ascer- 
tained by  trying  it  with  a  pen  on  white  paper.  When  dry  it 
will  show  if  black  enough. 

Fill  now  the  compass  pen,  and  after  wiping  off  the  super- 
fluous ink,  graduate  the  thickness  of  the  line,  and  make  first 
on  the  inking  or  tracing  all  circles  or  parts  of  circles.  Usually 
■when  the  last  of  these  are  done  the  first  completed  are  dry. 
Always  commence  at  the  upper  edge,  that  farthest  from  you. 
When  done  with  any  inking  instrument  always    Vffpe  it 


draftsman's  manual.  ?^ 

"horoughly,  wlilch  prevents  the  thick  ink  from  dr^'ing  on  it, 
•ind  rendering  it  unfit  for  a  second  use,  until  it  is  cleuucd  at 
"jost  of  some  time  spent.  Then,  filling  the  ruling  pen,  move 
^Jie  square  up  until  the  top  edge  coincides  with  the  higliest 
horizontal  line,  and  carefully  draw  over  it,  spreading  the  ink 
as  you  go. 

The  pen  needs  to  be  held  upriglit,  both  nibs  toucliing  the 
paper  or  cloth.  Always  move  the  square  down  from  the  wet 
ink  lines,  remembering  that  if  the  square  touches  them  a 
brushy-looking  smudge  is  the  result,  hard  to  remedy. 

When  all  the  horizontal  lines  are  inked  and  dry,  then  the 
vertical  ones  may  be  attempted.  Take  a  triangle,  place  it 
apon  the  top  edge  of  the  square,  hold  it  with  the  left  hand,  so 
the  vertical  edge  will  be  on  the  right.  Keep  the  square  stock 
up  to  the  edge  of  the  board  by  pressure  with  the  left  palm, 
and  draw  the  ink  lines  from  up,  down,  along  the  vertical 
edge  of  the  triangle.  With  lines  at  other  angles  the  process 
is  the  same,  always  keeping  the  square  as  a  base  upon  which 
the  triangle  slides  up  to  the  edge  of  the  board.  Finish  by 
making  the  little  connecting  irregular  lines,  sucli  as  cornice 
profiles,  cut  work,  etc.,  with  a  fine  writing  pen,  making  uU 
joinings  neatly. 

This  completes  the  process  of  outlining.  A  nicer  appear- 
ance is  given  to  both  plans  and  elevations  by  shading.  A 
heavy  line  is  placed  on  the  side  of  walls,  cupboards,  sinks, 
corner  boards,  window  and  door  frames,  eaves,  posts,  etc., 
opposite  to  that  from  which  the  light  is  supposed  to  come — 
prf^sumedly  the  upper  left-hand  corner,  though  any  other 
point  might  as  well  be  taken.  Shading  and  graduated 
shadows  are  likewise  put  on  white  paper  drawings,  not  trac- 
ings, with  a  brush  and  washes  of  India-ink. 

The  lightest  tints  are  put  on  first,  and  succeeding  darker 
ones  up  to  the  part  in  deepest  shade,  and  this  edge  of  each 
one,  while  yet  wet,  worked  off  to  blend  with  the  next  lighter, 
with  a  clean  brush,  wet  in  clear  water.  A  piece  of  blotting 
paper,  held  in  tlie  left  hand,  and  often  applied  to  the  spots  of 
color  left  where  the  brush  stops,  will  greatly  assist  in  preserv- 
ing an  even  tone.  The  shadows  on  rounded  objects  have  two 
lights,  one  high  light  on  the  side  of  the  direct  illumination, 
and  one  on  the  opposite  side,  lower  in  tone,  from  refiected  light. 

The  last  process  before  the  coloring  is  figuring  the 
scale  drawings.  Each  sheet  must  have  the  scale  marked 
jn  it,  and  in  addition  parts  where  care  must  be  exercised-' 


30  i)RAF*rSMAN's   itA:^ftfAL. 

pretty  generally  all  the  parts— such  as  thickness  of  walls, 
sizes  of  doors,  sash,  posts,  studding,  joists,  distances  between 
floors,  etc.,  etc.,  are  carefully  figured. 

Plans  must  have  the  figures  giving  the  length  of  sides  to 
correspond  or  tally,  and  sections  must  give  height  of 
stories,  size  of  joists,  studding,  projection  of  rafters,  etc. 
There  cannot  be  too  much  figuring  done,  unless  the  plan 
would  become  confused  by  so  many  dimensions  being  placed 
upon  it.  It  is  safe  to  say,  give  all  the  important  ones  and  as 
many  of  the  minor  ones  as  possible.  Besides,  it  makes  the 
drawing  of  the  full-size  details  much  easier  and  more  reliable. 

In  coloring  both  paper  drawings  and  tracings  great  care  is 
necessary  to  get  the  volume  of  tint  even,  and  not  of  greater 
intensity  in  one  spot  than  another.  Use  a  pretty  full  brush, 
and  stir  the  color  about  every  brushful  ;  spread  the  brush 
so  as  to  fill  all  the  space  to  be  colored  if  possible,  and  where 
the  brush  leaves  off  blot  up  the  quantity  left  unspread  with  a 
clean  piece  of  blotting  paper.  When  about  to  color  inked 
drawings  on  paper,  be  sure  and  clean  it  off  thoroughly  before 
beginning,  and  use  fresh  made  ink  ;  then  the  lines  will  not 
spread. 

THE  ARCHITECT. 

A  PROFESSOR  OP   ARCHITECTURE,  OR  THE  ART  OF  BUILDING. 

In  discussing  the  first  part  of  my  title,  I  hope  to  make 
it  plain  who  can  and  who  ought  to  be  holders  of  tlie  above 
appellation  ;  for  there  are  many  in  the  ranks  of  the  building 
trades  who  from  their  experience  and  knowledge  can  correct 
many  a  one  called  architect  on  important  rules  of  practice. 
These,  if  they  would  study  proportion,  the  styles,  and  the 
history  of  architecture,  can  become,  truly  speaking,  archi- 
tects. And,  conversely,  there  are  many  who  write  "  Archi- 
tect "  after  their  names  who  know  nothing  but  how  to  make 
marks  on  paper  which  could  not  be  built,  or  to  copy  other 
men's  work. 

These  ought  not  to  swell  the  lists  of  the  profession,  and 
would  be  better  employed  in  being  draftsmen  simpl3%  or  by 
going  to  work  at  the  practical  part  of  architecture,  "  the  art 
of  building,"  and  so  correcting  from  experience  their  former 
errors  of  ignorance. 

Those  who  ought  to  be  architects  are  born  with  more  or 
less  aptitude  for  kindred  occupations,  and  in  boyhood  are 


draftsman's  MANtJAL,  31 

noted  for  constructive  ability  and  eariy  liking  for  practising  the 
delineation  of  objects  of  mechanical  construction.  They  hang 
with  unabating  interest  about  buildings,  and,  as  soon  as  old 
enough,  if  wisely  guided,  will  learn  regularly  the  operative  car- 
pentry or  masonry  which  so  delights  them.  After  a  few  years' 
of  intelligent  labor,  and  while  still  young,  a  course  of  drafts- 
manship in  an  architect's  office  will  prepare  such  an  one  finally 
for  the  expression  of  his  conceptions,  and,  during  this  period, 
he  should  master  the  use  of  the  followmg  drawing  instruments  : 
rulers,  ordinary  and  parallel,  ruling  pen,  compasses,  with  pen 
and  pencil,  bow-sweeps,  as  well  as  the  construction  and  use  of 
simple  scales,  such  as  i,  2,  4  or  more  feet  to  the  inch,  showing 
inches  ;  or  such  as  ^,  J-,  i,  |,  |,  f ,  or  other  fraction  of  full  size, 
or  of  any  given  scale  or  drawing  ;  and  the  meaning  of  such 
terms  as  plan,  elevation  (front,  back,  or  side),  section,  or  sectional 
elevation. 

He  should  understand  the  object  of  bond  in  brick  work,  i.  e., 
English  bond,  Flemish  bond,  or  English  bond  with  Flemish 
facing,  secret  bond,  and  how  it  is  attained  in  walls  up  to  three 
bricks  thick,  in  the  following  instances,  viz.:  footings 
with  off-sets,  angles  of  buildings,  connection  of  external  and 
internal  walls,  window  and  door  openings  with  reveals  and 
square  jambs,  external  gauged  arches  (camber,  segmental,  and 
semi-circular),  internal  discharging  arches  over  lintels,  and  in- 
verted arches. 

He  should  know  where  to  put  wood,  bricks  or  plugging,  and 
their  use,  the  construction  and  uses  of  brick  corbelling,  and  the 
construction  of  trimmer-arches  in  fire-places. 

He  should  be  able  to  give  sections  and  elevations  to  scale,  of 
the  following  kinds  of  mason-work,  viz.:  uncoursed  and  coursed 
rubble,  block  in  course  and  ashlar,  with  their  bond,  and  the 
proper  dimensions  of  the  stones,  as  to  height,  width  of  beds, 
and  their  length,  and  of  the  following  dressings,  viz. :  window 
sills,  window  and  door  jambs,  plain  window  and  door  heads, 
door  steps,  string  courses,  quoins,  copings,  common  cornices, 
blocking  courses  ;  and  of  the  following  methods  of  connecting 
stones,  VIZ.:  by  cramps,  dowels,  joggles,  and  lead  plugs. 
1  He  should  be  able  to  show  how  to  join  timbers  by  halving, 
^apping,  notching,  cogging,  scarfing,  fishing,  and  mortise  and 
enon,  as  applied  to  wall  plates,  roof  timbers,  floors,  cei  ings, 
and  partitions. 

He  should  be  able  to  draw,  from  given  dimensions,  King  and 
Queen  post  roofs,  and  collar  beam  roofs,  also  laminated  beam 
curved,  and  the  combination  of  lamina  ed  beam  and  Howe 
truss  girder  used  in  depots,  rinks,  and  exh.bition  halls,  showing 
the  details  of  the  framing  and  iron  work. 

He  should  be  able  to  draw  from  given  dimensions,  single, 
double,  and  framed  floors,  with  or  without  ceilings  beneath 
them  ;  showing  modes  of  supporting,  stiffening,    and   framing 


^2  draftsman's  manual. 

the  timbers  ;  trimminj  roaaJ  hearths  and  wells  of  stairs  ;  also 
floor  coverings  of  boards  or  battens,  rebated  and  filleted, 
ploughed  and  tongued,  and  laid  close,  blind  nailed,  broken 
joints,  beveled  or  square  butt  joints. 

He  should  be  able  to  draw  in  elevation,  from  given  dimen- 
sions, a  framed  partition  with  door  openings. 

He  should  be  able  to  draw,  in  elevation,  and  give  vertical 
and  horizontal  sections  of  solid  door  and  window  frames. 

He  should  be  a'de  to  describe,  by  drawings,  b  adings  of  dif- 
ferent kinds,  dove-tailing,  cro-^s-grooving,  rebating,  plough 
grooving,  champering,  rounde  I  nosings  and  housings. 

He  should  be  able  to  draw,  in  elevation,  and  give  vertical  and 
horizoital  sections  of  the  following  doors,  viz.:  ledged,  ledged 
and  braced,  framed  and  braced,  paneled,  battened,  and  the 
mode  of  putting  them  together,  po.siti  n  of  hinges  and  furniture, 
as  well  as  to  describe,  by  drawing,  the  following  terms,  as 
applid  to  paneled  doors,  viz.:  square  and  flat,  raised  panel, 
bead  and  butt,  bead  flush,  flush  moulded,  and  raised  moulded, 
all  on  one  or  both  sides. 

He  should  be  able  to  draw,  in  elevation,  and  to  give  vertical 
and  horizontal  sections  of  the  following  window  sashes  and 
frames,  viz. :  single  or  double  hung  sashes,  with  square,  beveled 
or  moulded  bars  and  cased  frames  ;  casement  sashes  hung  to 
solid  fiames,  with  method  of  hanging  and  securing  in  each 
case. 

He  should  be  able  to  draw,  in  section  and  elevation,  the 
flashings  on  chimneys  and  parapets,  the  ridge  rolls,  and  hip  and 
valley  flashings,  gutters,  cant  boards,  connections  with  leaders, 
and  flat  tinning. 

He  should  be  able  to  give  an  elevation  and  a  section  of  the 
slating  of  a  roof  laid  with  different  sized  slates,  on  boards  or 
battens,  and  show  the  best  methods  of  making  such  a  roof 
weather  and  wind-tight. 

He  should  be  acquainted  with  the  proper  cross-section  for  cast 
and  wrought  iron  beams  for  use  in  positions  of  floor  beams,  or 
cantilevers,  and  coupled  or  tripled  by  bolting  together  through 
separators,  for  use  as  girders,  and  be  able  to  draw  such  a  sec- 
tion in  its  right  proportions  from  g'ven  data. 

He  should  be  able  to  draw,  in  elevation,  from  given  dimen- 
sions, and  skeleton  diagrams,  ordinary  iron  roofs,  up  to  40  feet 
span,  showing  the  sec  ions  of  different  parts,  and  methods  of 
connecting  them. 

He  should  also  be  able  to  make  and  explain  the  following : — 

1st.  Free-hand  sketches  explanatory  of  any  details  of  con- 
struction, such  as  the  joints  of  iron  and  wooden  structures,  and 
other  parts  requiring  illustration  on  a  large  scale. 

2d.  The  nature  of  the  stresses  to  which  the  different  parts  of 
simple  structures  are  subjected,  as  follows  : 


draftsman's  manual.  33 

In  the  case  of  beams,  fixed  at  one  end,  such  as  cantilevers, 
and  fixed  at  both  ends  or  supported  at  both  ends,  as  in  girders, 
the  student  should  know  which  side  of  the  beam  is  in  compres- 
ison  and  which  in  tension. 

He  should  also  be  acquainted  with  the  best  forms  for  struts, 
ties,  and  beams,  such  as  floor  joists,  exposed  to  transverse 
stress. 

He  should  know  the  difference  in  the  strength  of  a  girder 
carrying  a  given  load  at  its  centre  or  uniformly  distributed. 

In  the  ordinary  kinds  of  wooden  or  iron  roof  trusses,  and 
framed  structures  of  a  similar  description,  he  should  be  able  to 
distinguish  members  in  compression  from  those  in  tension. 

3d.  The  nature,  application,  and  characteristic  peculiarities 
of  the  following  materials  in  ordinary  use  for  building  purposes, 
viz. :  Bricks  of  different  kinds  in  common  use,  stones,  granite,  pure 
lime,  hydraulic  lime,  Portland,  Roman,  and  Rosendale  cement, 
mortars,  concretes,  grout,  asphalt,  timber  of  different  kinds  in 
common  use,  cast  and  wrought-iron. 

4th.  Constructive  details,  as  follows  : 

The  ordinary  methods  of  timbering  excavations,  such  as  for 
foundations  to  walls,  or  for  laying  down  sewers,  the  erection  of 
bricklayers'  and  masons'  scaffolding,  the  construction  of  trav- 
elers, the  use  of  piles  in  foundations,  hoop-iron  bond  in  brick- 
work, diagonal  and  herring-bone  courses  in  brickwork,  damp 
proof  courses,  bond  timber  in  walls  and  the  objections  to  it. 

He  should  know  how  bricks  are  laid  in  hollow  walls,  wi  dow 
and  door  openings  with  splayed  jambs,  flues,  chimneys,  fire- 
places, and  arches  up  to  about  20  feet  span,  how  mortar  joints 
are  finished  off,  and  the  thickness  usually  allotted  to  them,  why 
bricks  and  stones  ought  to  be  wetted  before  being  laid. 

He  should  be  acquainted  with  the  construction  of  brick 
ashlar  walls,  rubble  ashlar  walls,  stone  stairs,  wooden  stairs, 
both  dog-legged  and  open  newell,  skylights,  fire -proof  floors, 
such  as  brick  or  other  fire-proof  material  in  arched  form,  sup- 
ported, or  rolled,  or  cast-iron  girders  or  beams,  c  rcular  and 
egg-shaped  drains,  roofs  of  iron  or  wood,  the  fixing  of  archi- 
traves, linings,  skirtings  and  wainscotings  to  walls,  shutters  to 
windows,  lath,  plaster,  and  battening  to  walls,  roof  coverings 
of  tiles,  slate,  and  zinc  or  lead,  and  slate  ridges  and  hips. 

He  must  possess  a  complete  knowledge  of  building  materials, 
their  application,  strength,  and  how  to  judge  of  their  quality, 
and,  in  the  case  of  iron,  of  the  processes  of  manufac  ure,  and 
the  points  to  be  attended  to  in  order  to  insure  sound  castings 
and  good  rivetings. 

He  must  be  able  to  solve  simple  problems  in  the  theory  of 
construction,  such  as  in  the  case  of  a  beam  supported  at  bolh 
ends,  to  ascertain  the  proportion  of  the  load  transmitted  to  each 
point  of  support,  and  to  determine  the  safe  dimensions  of  iron 
or  wooden  beams  subjected  to  dead  loads. 


34  draftsman's  manual. 

In  ordinary  roof  trusses  and  framed  structures  of  a  similar 
description,  he  must  be  able  to  trace  the  stresses,  brought  into 
action  by  the  load,  from  the  points  of  application  to  the  points  of 
support,  as  well  as  to  determine  the  nature  and  amount  of  the 
stresses  on  the  different  members  of  the  truss,  and  consequently 
the  quantity  of  material  required  in  each  pa  t. 

In  ordinary  walls  and  retaining  walls,  he  must  be  able  to  as- 
certain the  conditions  necessary  lo  stability,  independent  of  the 
strength  of  the  mortar. 

But,  when  others  pronounce  him  incomparable,  he  will  feel, 
looking  at  his  art  from  the  standpoint  he  has  attained,  that  he 
has  but  just  begun  to  be  equipped  for  his  life-work,  and  that  all 
too  soon  he  will  have  to  rest  when  all  he  would  desire  would  be 
to  practice  faithfully  what  he  had  spent  years  to  learn,  and 
assist  ot'  ers  to  reach  his  position  with  less  expenditure  of 
time  and  trouule. 

For  those  who,  I  presume,  are  a  majority  of  my  readers, 
and  who  have  been  through  the  preliminary  stages  of  hand- 
work in  shop  or  shed  ;  and  for  those  who,  still  younger,  are 
desirous  of  entering  the  offices  of  their  imagination  s  great 
lights  in  the  profession,  I  will  add  a  short,  and,  I  fear,  imperfect 
list,  of  works — illustrated  and  scientific — which,  well  studied, 
will  lead  them  on  to  desire  further  knowledge  ;  and  thus  set, 
improving,  and  on  the  right  path,  it  rests  with  themselves  if 
they  succeed,  or  whether  they  have  not  mistaken  their  hopes 
for  evidences  of  ability. 


VALUABLE  BOOKS  FOR  A  STUDENT  OF 
ARCHITECTURE. 

Mitchell's  "  Rudimentary  Manual  of  Architecture." 

Professor  Babcock's  "  Series  upon  Elementary  Architecture.*' 

Riddell's  "  Practical  Carpenter  and  Joiner." 

Mitchell's  "  Stepping  Stone  to  Architecture." 

Monckton's  "Carpenter  and  Joiner." 

Gould's  "  Carpenter's  and  Builder's  Assistant." 

Plummer's  "Carpenter's  Guide." 

Riddell's  "  Lessons  on  Hand-Railing." 

Monckton's  "Stair  Builder." 

Gould's  "  American  Stair  Builder." 

Bums'  "  Notes  on  Building  Construction.** 


draftsman's  manual.  86 

Gwilt's  "  Encyclopedia  of  Archi  ecture." 
R.  G.  Hatfield's  "American  House  Carpenter." 
R.  G.  Hatfield's  "  Theory  of  Transverse  Strains." 
Parker's  "  Glossary  of  Architecture." 

'     De  Volson  Wood's   "Theory   and   Construction  of  Bridges 

and  Roofs." 

Viollet  Le  Due's  "  Discourses  on  Architecture." 

A.  Rosengarteri  s  "  Handbook  of  Architectural  Styles." 

G.  G.  Zerifi&'s  "Manual  of  Art,  with  Special  Reference  to 

Architecture,  etc." 

"Ventilation  of  Buildings."    Butler. 

Leed's  ' '  Treaties  on  Ventilation. " 

Saeltzer's  "  Treatise  on  Acoustics." 

Hallett's  "Specifications." 

Eveleth's  "  School- House  Architecture." 

Gardner's  "  Common-Sense  in  Church  Building." 

Bicknell's  "  School-House  and  Church  Architecture." 

Palliser's  "  Specifications." 

Bicknell's  "Builder's  Contracts." 

Bicknell's  "  Detail  Cottage  and  Constructive  Architecture." 

Bicknell's  "Cottage  and  Villa  Architecture,"' 

"  Modem  Architectural  Designs  and  Details." 

Powell's  "Foundation  and  Foundation  Walls." 

Withers'  "  Church  Architecture." 

Ruskin's  "  Seven  Lamps  of  Architecture." 

Tuthill's  "  Practical  Lessons  in  Architectural  Drawing." 

Vogdes'  "  Architect's  and  Builder's  Pocket  Companion." 

The  journals  of  current  events  of  interest  containing  reports 
and  papers  on  the  scientific  and  archaeological  points  studied  in 
the  profession,  and  also  enumerating  the  state  of  work  in  the 
United  States  and  Canadas,  with  cullings  from  the  European 
press,  are : 

The  American  Architect  and  Building  News.  Weekly  and 
Monthly.     Published  in  Boston. 

Carpentry  and  Building.     Monthly.     New  York. 

Builder  and  Woodwot  ker.     Monthly.     New  York. 

The  Manufacturer  and  Builder.     Monthly.     New  York. 


86  draftsman's  manual. 

APPENDIX  A. 
Additional  Remarks  regarding  Draftsman's  Outfit. 

The  drawing-  board  should  be  perfectly  square  at  the  cor- 
ners and  true  on  the  edges,  made  from  ij  inch  stuff,  and  24  by' 
36  inches  is  a  good  size  for  most  necessary  drawings,  although  it 
wi  1  be  found  very  convenient,  in  practice,  to  have  a  larger  one 
of  the  dimensions  32  by  48  inches.  It  should  be  of  well  sea- 
soned white  pine,  and  should  have  no  clamps  across  the  ends, 
because  even  the  best  seasoned  wood  will  swell  and  shrink  with 
the  change  from  dry  to  wet  weather,  and  if  the  clamps  project 
a  hair's  breadth  beyond  the  edge,  they  throw  the  tongue  of  the 
square  considerably  off  the  true  line.  The  clamps  should  be  of 
hard  wood  about  i  by  ij  inches,  screwed  to  the  board  the 
stiffest  way  of  the  section  of  the  clamp,  and  the  screws  should 
be  inseried  through  slots  \  inch  long  instead  of  round  holes,  so 
the  swelling  and  shrinking  of  the  boards  will  be  accommodated 
instead  of  restrained. 

The  T  squares  are  instruments  for  the  ruling  of  long  straight 
lines,  and  may  be  used  on  either  edge  of  the  board  for  horizon- 
tal lines,  or  at  the  top  and  bottom  for  vertical  ones.  They  are 
made  of  all  kinds  of  hard  wood,  some  with  both  edges  of  the 
tongue  parallel  and  some  that  are  very  long  or  required  to  be 
very  stiff  have  the  lower  edge  oblique,  sloping  from  the  stock  to 
the  point.  The  most  convenient  form  is  the  one  in  which  the 
tongue  is  planted  on  the  stock,  thus  allowing  a  triangle  to  move 
freely  when  near  or  over  the  stock.  When  the  stock  or  head 
projects  up  as  much  as  it  does  down,  much  care  must  be  taken 
in  keeping  the  hypothenuse  of  the  triangle  on  the  right,  or  it 
will  be  impossible  to  make  vertical  lines  close  to  the  head. 

Another  useful  form  of  square  is  the  bevel  in  which  the 
head  or  stock  is  movable  on  the  end  of  the  tongue,  on  a 
pivot  which  has  a  large  milled  head  nut,  working  on  a  screw,  so 
adjusted  that  the  head  can  be  made  to  take  any  angle  to  the 
tongue,  and  so  enabling,  by  the  usual  manipulation  of  the  in- 
strument, parallel  oblique  lines,  such  as  cornices  on  gables, 
pediments,  stairs,  and  rake  wainscoting  to  be  drawn  with 
greater  ease  and  quickness  than  if  the  usual  form  of  square 
were  used,  and  a  triangle.  A  combination  of  these  two  squares 
has  the  head  split  so  that  one  side  can  be  used  as  a  permanent 
square,  and  the  other  shifted  so  as  to  form  a  bevel. 

The  triangles  are  of  various  sizes,  and  in  practice,  two  sets 
are  desirable,  one  a  small  one,  preferably  of  black  rubber,  and 
thick  rather  than  thin,  as  they  will  not  be  so  likely  to  slip  under 
the  edge  of  the  tongue  of  the  square.  These  are  used  for 
drawing  small  drawings,  such  as  scale  plans,  elevations,  etc., 
where  a  line  not  more  than  four  inches  long  is  likely  to  be 


draftsman's  manual.  3*7 

drawn.  But  for  larger  drawings,  a  set  of  triangles,  the  sides 
of  which  are  I2  and  14  inches  long,  are  indispensable.  For 
full  size  details,  even  larger  ones  are  convenient. 

The  thumb  tacks  are  made  like  common  tacks,  with  heads 
varying  from  the  size  of  an  old  fashioned  three  cent  piece  to  that 
of  a  dime.  The  points  are  of  steel,  round,  and  screwed  into  the 
head,  in  the  best  kinds,  and  simply  riveted  in,  in  the  commoner 
kinds.  The  best  have  German  silver  heads,  and  the  common 
ones  brass.  They  are  used  to  fasten  temporary  drawing  sheets 
to  the  board,  and  are  pressed  in  with  the  thumb,  and  can  be 
easily  withdrawn  by  running  under  the  broad  head  a  thin  knife  • 
blade.  Finger-nails  are  good  for  the  purpose,  while  they  last, 
which  is  usually  not  long.  Pencils  can  be  obtained  of  various 
makes,  the  best  being  of  foreign  make,  called  the  Siberian, 
m^.de  by  A.  W.  Faber.  The  3H  is  the  most  useful,  the  harder 
grades   only  coming  useful  in  extra  fine  work,  on  special  paper. 

Rubber  can  be  obtained  also  of  various  shapes,  sizes,  styles 
and  qualities,  but  the  best  is  A.  W.  Faber's  Artist's  Gum,  large 
cakes.  This  quality  works  best  on  all  grades  of  paper,  and  is 
neither  too  hard  nor  too  soft  for  all  kinds  of  use. 

An  ink  slab  is  to  grind  the  India  ink  on,  and  is  made  of 
either  earthenware,  slate,  or  ground  glass,  and  the  best  form  is 
a  circular  shape,  dishing  toward  the  centre,  where  there  is  a 
deep  well.  There  is  a  cover,  and  ink  will  keep  in  usable  con- 
dition in  it  from  three  to  four  days. 

The  earthenware  color  saucers  come  in  a  nest,  that  is  to  say, 
so  fitted  together  that  six  of  them  make  one  set.  with  lips  and 
ledges  so  that  they  sit  securely  i'j  on;  pL'e  when  not  in  use. 
Other  saucers  are  all  open,  and  have  six  or  nine  inclined  divi- 
sions for  different  colored  water-colors. 

The  camel's  hair  brushes  most  used  are  of  three  or  four  .'■izes, 
from  the  smallest,  about  as  large  as  the  lead  of  a  lead  pencil, 
up  to  a  flat  brush  in  a  handle  the  size  of  an  ordinary  pen-holder. 
These  are  used  to  lay  on  the  colors  red,  for  brick,  yellow  for 
wood,  blue  for  stone  and  iron,  brown  for  black-walnut  and 
brown-stone,  etc.,  etc.,  and  after  use  should  always  be  rinsed 
clean,  and  well  dried. 

The  water-colors,  red,  yellow,  blue  and  brown,  may  be  sup- 
plemented by  as  many  more,  if  desired,  but  the  red  should  be 
carmine,  the  yellow,  ochre,  the  blue,  French  blue,  and  the 
brown,  Vandyke  brown.  Care  must  be  taken  to  wipe  the  end 
of  the  cake  dry  after  rubbing  the  color,  or  the  dampness  thus 
left  will  be  apt  to  permeate  the  cake  and  cause  it  to  crumble. 

The  India  ink  of  the  best  kind  will  give  the  most  satisfac  ory 
results,  but  there  is  a  cho  ce  between  an  ink  that  dries  glossy, 
and  one  that  dries  a  dead  black.  The  latter  is  the  most  pre- 
ferred, but  is  hard  to  secure.  The  same  care  in  keeping 
dry  must  be  exercised,  or  the  stick  will  crumble  to  unusable 
fragments 


^^  draftsman's  manual. 

APPENDIX   B. 

THE  PROPORTION  OF  ROOMS 

is  a  question  that  has  often  been  discussed,  but,  as  far  as  I  am 
aware,  has  never  been  definitely  settled,  and  probably  never 
will  be.  I  think,  however,  that  the  relative  proportions  of  a 
large  room  would  be  quite  inappropriate  for  a  small  one.  For 
instance,  the  double  square,  which  might  do  for  a  room  20  feet 
by  40  feet,  would,  on  the  other  hand,  be  very  inconvenient,  if 
made  10  feet  by  20  feet. 

Rooms  20  feet  by  40  feet  are  handsome  and  useful,  but  rooms 
formed  to  correspond  with  the  le-ser  figures  (10  feet  by  20  feet) 
are  not  of  a  useful  shape.  It  is  therefore  necessary  to  devise  a 
kind  of  sliding  scale,  giving  more  squareness  to  small  rooms 
and  more  length  to  large  ones.  As  to  height,  we  leave  that  an 
open  question  ;  some  would  make  them  a  greater  height  than 
others,  according  to  the  uses  to  which  they  are  to  be  put,  aside 
from  the  question  of  strict  proportion  on  the  one  hand,  and  of 
acoustic  perfection  on  the  other.  The  proportion  of  height 
should  generally  range  from  two-thirds  to  three-fourths  of  the 
width,  and  must  depend  on  whether  the  apartment  is  lighted 
from  the  end,  or  side,  or  ceiling.  Most  frequently  it  would  be 
from  one  end  and  one  side. 

The  sliding  scale  proposed  is  as  follows  : 

LENGTH.  BREADTH. 

50  feet,  o 30  feet. 

40   " 25    " 

36   "     23    '' 

30   '■'  20     ' 

25   " ,17    ■ '    6  inches. 

20  "     15    " 

18   "  ,,... 14    " 

15    '• 12    "    6  inches. 

I.    " II     " 

10    "   . .  .10    " 

The  principle  is  very  simple,  namely :  that,  starting  with  a 
room  30  feet  by  20  feet,  we  add  or  subtract  2  feet  from  the 
length  for  every  I  foot  of  the  breadth.  Thus,  if  a  room  is  in- 
tended to  be  22  feet  long  (that  is,  8  feet  less  than  the  30  feet), 
then  the  breadth  should  be  4  feet  less  than  the  20  feet,  or  16 
feet.  Any  one  can  carry  the  rule  in  his  memory  without  much 
difficulty,  simply  calling  to  mind  30  by  20  and  making  an  allow- 
ance of  2  feet  of  length  for  every  I  foot  of  breadth,  whether 
increasing  or  diminishing  in  size.  The  scale  above  given  is  of 
practical  dimensions  for  dining-rooms,  drawing-rooms,  very 
nearly  of  billiard-rooms,  and  as  it  descends,  of  other  apart- 
ments. Of  course,  no  one  would  be  so  absurd  as  to  advocate 
every  room  in  a  house  being  strictly  to  such  a  scale,  but  it  af- 
fords hints  of  proportions  which  would  generally  be  useful  and 
appropriate. 


PRACTICAL  LESSONS 


ARCHITECTURAL  DRAW IN& 


How  to  Make  the  Working  |Draningg  for  Buildings. 

44  pages  descriptive  letter  press,  illustrated  by  33  full-page  plates 
{one  in  colors)  and33  woodcuts,  showing  methods  0/  construction 
and  representation. 

The  work  embraces  Scale  Drawings  of  Plans,  Elevations,  Sections 
and  Details  of  Frame,  Brick  and  Stone  Buildings,  with  full  descriptions 
and  a  form  of  Specifications  adapted  to  the  same. 

Suited  to  the  wants  of  Architectural  Students,  Carpenters,  Build- 
ers, and  all  desirous  of  acquiring  a  thorough  knowledge  of  Architect- 
ural Drawing  and  Construction. 

Bjr  WILLIAM  B.  TUTHILL,  A.M.,  Architect. 

One  large  8vo  volume,  oblong.  Cloth.  Price,  postpaid,  JJ2.50. 
•»o^»' 

Mathematical  Drawing  Instruments, 

ANO  HOW  TO  USE  THBII. 

One  Imperial  i6mo  volume,  bound  in  cloth,  containing  152  pages  and 
over  70  illustrations,  including  11  different  styles  of  lettering. 
By  P.  EDWARD  HULME,  Art  Master  of  London, 
who  has  for  many  years  been  engaged  in  teaching  beginners  to  become 
skilled  workmen,  and  now  for  the  first  time  offers  his  experience  to 
the  public. 

Price,  postpaid,  $1,50. 

i.O^«. 

DRAFTSMAN'S  MANUAL, 

— OK — 

How  Can  I  Learn  Architecture  ? 

CONTAINING 

Hints  to  Inpirers  anl  Directions  in  Dransmanslip. 


F.  T.  CAMP,  Architect. 

Onp  Small  Volume,  Cloth,    Frice,  postpaid,  BO  cents. 


f\i)  ^rel^iteetdral  U/ee^ly 

DBVOTKD   TO 

Architecture,  Furniture,  Decoration  and  Ornament. 

PUBLISHED   EVBRY   SATURDAY. 

Subscription,    $6.00  per  year.    Fifteen   cents  per    copy. 


PRESS  NOTICES. 


One  of  the  handsomest  and  best  architectural  papers  among  our 
exchanges  is  Building  Well  illustrated,  printed  and  edited,  treating 
on  all  matters  of  interest  to  the  building  trade. — IVood  and  Iron. 

It  is  without  doubt  the  most  valuable  publication  of  the  kind  pub- 
lished in  the  country. — Southern  Lumberman. 

One  of  the  best  architectural  periodicals  of  the  day^is  Building. 
—  The  Christian  Union. 

It  is  not  often  that  so  much  and  so  valuable  material  is  found  at 
one  time  in  a  trade  journal. —  The  Pubiishtn'' Weekly. 


MoJleni  Arclitectnral  Besip  i\i  Details. 

This  publication  is  issued  monthly  and  will  give  details  of  ex- 
terior and  interior  woodwork  drawn  to  scale,  gelatine  plates  of  late 
work  by  prominent  architect*,  and  such  other  designs  and  details  as 
are  likely  to  prove  useful  in  the  practical  work  of  an  architect. 

Subscription, %S.ciO  per  year;  %i.zj/or  three  months;  ^Sjo/or 
sijc  months,  or  jo  cents  a  copy . 

NOW  PEADY.  1889,  Catalogue  of  Architectural  Books  and 
Miniature  Catalogue  of  Drawing  Instruments. 


WILLIAM  T.  COMSTOCK.  PnWisher, 

23  Warren  Street,  New  York. 


Si 

^ 

^^^' 

^ar ' 

^ 

P^ 

^F 

^ir/T-      ' 

->- 

S- 

^j^ 

^^|fc^- 

^^ 

S^ 

UCSBHIB1?ARY 


S/JIE 


^'^ 

"^^In^^ 

■,f 

^^uk 

!^W^ 

^JK^^ 

^^5- 

^\il/^L 

^^^ 

^^^ 

^^ 

1^^^ 

s^^^s^ 

^ 

^ 

1^ 

^^^l^l^v 

^P 

S2 

1 

^iT^/J^^^ll/'  1 

:vii^^ 

?^^^^ 

!^^^ 

IB 

1 

^^%£ 

^B 

^^^ 

;■  ^^^^^ 

W^ 

^^s 

\^'^ 

sife.       ^- 

,'i      '' 


